RESUMO
No disponible
Assuntos
Humanos , Masculino , Feminino , História da Medicina , Modelos Anatômicos , Ceras/análise , Ceras/história , Ceras/uso terapêutico , Médicos/história , Médicos/tendências , Docentes de Medicina/história , Pesquisadores/história , Pesquisadores/tendências , Ciência/história , Ciência/instrumentação , Moldes Cirúrgicos , Educação em Saúde/métodos , Antropologia/instrumentação , Antropologia/métodos , Antropologia Cultural/instrumentação , Antropologia Cultural/métodos , Exposições como AssuntoRESUMO
El uso de la ceroplástica como medio de divulgación científica tuvo en la didáctica anatómica del siglo XVIII una enorme difusión. Llegó a trascender las fronteras de una ciencia que impregnaba de conocimiento científico la expresión artística de la belleza a través de la que se manifestaba. Bajo estas premisas se creó en el Real Colegio de Cirugía de San Carlos de Madrid la colección de modelos anatómicos, de la que es custodio el actual Museo de Anatomía Javier Puerta de la Facultad de Medicina de la Universidad Complutense de Madrid. La colección se inició en 1786 con Ignacio Lacaba, primer disector del colegio de cirugía madrileño, cuya sensibilidad artística y profundo conocimiento de la anatomía contribuyó y facilitó la armonización entre la labor de los ceroescultores y el lenguaje y expresión anatómica (AU)
Models made of wax had enormous diffusion in the anatomical teaching of the 18th century. It transcended the borders of a science that impregnated with scientific knowledge the artistic expression of beauty. Based on this premise, the San Carlos Royal College of Surgery created in Madrid a large collection of anatomical models, which is currently maintained by the Javier Puerta Anatomy Museum in the School of Medicine at Madrid Complutense University. The collection began in 1786 with Ignacio Lacaba, the first dissector of the Surgery College of Madrid, whose artistic sensibility and deep knowledge of anatomy contributed and facilitated harmonization between the work of the wax sculptors and language and anatomical expression (AU)
Assuntos
Humanos , Masculino , Feminino , História do Século XVIII , Ceras/análise , Ceras/história , Ceras/uso terapêutico , Anatomia/instrumentação , Anatomia/métodos , Modelos Anatômicos , Exposições Científicas , Moldes Cirúrgicos , Dissecação/instrumentação , Dissecação/métodos , Dissecação , Exposições como Assunto , Educação em Saúde/métodos , EspanhaRESUMO
This article focuses on the public experience of science by studying the exhibition practice of a small popular anatomy museum. The owner, Gustav Zeiller, a little-known German model maker and entrepreneur, opened his private collection in Dresden in 1888 with the aim of providing experts and laymen alike with a scientific education on bodily matters and health care. The spatial configuration of his museum environment turned the wax models into didactic instruments. Relying on the possible connexion between material culture studies and the history of the emotions, this article highlights how Zeiller choreographed the encounter between the museum objects and its visitors. I argue that the spatial set up of his museum objects entailed rhetorical choices that did not simply address the social utility of his museum. Moreover, it fulfilled the aim of modifying the emotional disposition of his intended spectatorship. I hope to show that studying the emotional responses toward artefacts can offer a fruitful approach to examine the public experience of medicine (AU)
No disponible
Assuntos
Humanos , Masculino , Feminino , História do Século XIX , Ceras/análise , Ceras/história , Ceras/uso terapêutico , Modelos Anatômicos , Emoções/fisiologia , Museus/história , Exposições Científicas , Moldes Cirúrgicos , Educação em Saúde/métodos , Educação em Saúde , Exposições como Assunto , Alemanha/epidemiologiaRESUMO
Este artículo examina la imbricación entre el personaje público del anatomista Pedro González de Velasco (1815-1882), célebre por su extensa colección anatómica y por fundar el Museo de Antropología de Madrid en 1875, y la leyenda popular que relata la muerte, embalsamado y posterior exhumación de su hija Concepción. La imagen del médico entregado a la patria se imbrica con otra como la del científico loco, y la biografía entra en el ámbito de la leyenda urbana. Más allá de la mera anécdota, este trabajo mostrará cómo las metáforas estéticas asociadas al cadáver femenino y la feminidad artificial penetran en el imaginario cultural, mostrando la cercanía entre el discurso médico y la esfera de la representación literaria y artística (AU)
This paper examines the relationship between the public image of Pedro González de Velasco (1815-1882), famous for his anatomical collections and his Anthropological Museum, founded in 1875 in Madrid, and the popular legend related to the death, embalming and exhumation of his daughter Concepción. The doctor who is committed to the nation becomes a mad scientist, and his official biography is transformed into an urban legend. Beyond the merely anecdotal, I show how the aesthetics associated with female corpses and artificial women organize cultural imaginaries, bringing together medical discourses and literary and artistic representations (AU)
